There is no trace where I stepped Painting

In her works, Kalaycıyan take as a reference and reinterprets the signs of both the history of art and the traditions of the close environment she grew up in. In this way, she aims to bring up her critical impressions of narratives that have become universally widespread. By reproducing objects that reflect the thoughts and rules that narrow the areas of freedom in both her own life and women's lives in general and that are not even allowed to be questioned, she visualizes her objections, sometimes with an implicit and sometimes explicit form of expression. She makes a reinterpretation of her childhood clothes and shoes in her serial works, in which she uses auto-biographical references in order to make the hidden sexist discourses visible in common narratives. In her works, where she focuses on the sense of loss and incompleteness, the body she metaphorically represents is composed together with indicators from many fields such as iconography, still life tradition or botany. These tools, which are used to symbolize the dominant identity and its values, contain sub-codes about the construction of identity for the artist and strengthen the criticism it brings to the agenda against sexist discourses.